Aimee Erikson Workshop
Materials List

I tend to vary my palette as needed; here are some of my regulars.
Flake White (or Titanium)
Genuine Naples Yellow Light (Vasari) Cadmium Yellow Light
Cadmium Yellow Deep
Indian Yellow (Gamblin)
Yellow Ochre
Transparent Earth Red
Terra Rosa or Venetian Red Cadmium Red Light
Alizarin Crimson
Quinacridone Violet (Richeson) Ultramarine Blue
Cobalt Blue
Prussian Blue
Thalo blue or thalo green
Asphaltum (Gamblin)
Raw Umber (Old Holland) Chromatic Black (Gamblin)

If you’re in need of a good set of brushes, I suggest the Rosemary Brushes NGLOVE set, available on the Rosemary & Co. website.
I use hog bristle brushes from Trekell, Vlats or long Vilberts, in a range of sizes, as well as Rosemary’s long rounded ivory Vlats, ivory Vilberts, and ivory egberts,

Something to mix your paints on. Please don’t use a white palette; it makes judging values very difVicult. A wooden palette is Vine; treated repeatedly with a 50/50 linseed oil/Gamsol mix it becomes smooth and glossy, an ideal surface for mixing. Glass or plexiglass is also good; tape a neutral color paper to the back. If you prefer a disposable palette get the gray one from Richeson.

A solvent (turpentine, traditionally) dissolves and thins wet paint. Use odorless solvents only (Gamsol). You’ll also need a small container or palette cup to hold solvent. A stainless brush washer with a basket and a lid that clamps on is good for cleaning brushes during and after painting. A medium is used to change the consistency of the paint. I use Flemish Maroger and Venetian Wax Medium from Old Masters Maroger (

A knife can be used for mixing and for applying paint. A two- or three-inch knife with a long, graceful shape is the most versatile.

A support is a surface to paint on, and a ground is the primer, usually gesso, used to coat the support to prepare it for painting. Paper is a good support if coated with shellac or acrylic gesso. Stretched canvases or canvas boards are typical.
I made a video available on my youtube channel to show how I make my supports and apply canvas tone.
Size and quantity of supports depends on the student. Sometimes you’ll want to do a sustained study and sometimes several starts. Better too many than not enough.
Tone gessoed supports with a middle value using a little solvent and any neutral combination of paint (such as burnt umber plus ultramarine blue, or raw umber plus a little white). Then use a paper towel to remove excess and create a very thin, even tone.
Bring two inexpensive 9x12 supports for exercises.

unless easels are provided by the hosting studio.


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